37th Panorama of Brazilian Art - under the ashes, ember

37th edition of the Panorama of Brazilian Art - MAM São Paulo announces new works and program 

Composed of 26 artists, the edition is entitled "Under the ashes, ember". and will take place from July 23rd on

"Under the ashes, ember" is the title and concept proposed by curators Claudinei Roberto da Silva, Vanessa Davidson, Cristiana Tejo e Cauê Alves for the 37th edition of the Panorama of Brazilian Art from Museum of Modern Art of São Paulowhich is sponsored by EMS, Unipar, and the Instituto Cultural Vale. A curatorship raises artistic solutions that reflect on how to face the emerging scenario of social and environmental agendas in Brazil, committing to the promotion of ethnic ethnic, gender, and class equality. Composed by 26 artists, 26 artists, this year's edition brings a significant number of commissioned works, aimed at the diversity and plurality of artistic production, but which at the same time dialogue and create approximations among them.

For the curators of the 37th edition of the Panorama of Brazilian Art of Museum of Modern Art of São Paulo: "The experience with art can resume our capacity to project the future, to imagine utopias, since we are in the middle of the catastrophe trying to put out fires - and setting colonial symbols on fire. For some archaic societies, the future lies precisely in the past, in the relationship with the ancestors, that is, far from the modern avant-garde vision of being ahead of one's own time. While the embers burn under the ashes, several artists retell stories, propose dialogues based on their own experiences, their origins, their repertoires, the earth, clay, rubber, drawing, everyday objects, paint and canvas, video, narratives, stories, art, maps, flags, monuments, and bodies.

The proposal is to reflect on the symbology of the ember as resilience, instigating the forms of rebirth that reflect on the ancestral and current symbolic construction. The exhibited installations, photographs, paintings, videos, and sculptures are poetic manifestations that propose to face the challenges of human, social, political, and geographical relations. To contemplate this edition, the Museum of Modern Art of São Paulo sought to expand its borders, using as part of the circuit of works the space of the Sculpture Garden, with works by Jaime Lauriano, and signing a partnership with the Afro Brasil Museum which receives the works of theartists Davi de Jesus do Nascimento e Lídia Lisboa. "The partnership with the Afro Museum, unprecedented in the context of the Panoramas, is in line with MAM 's intention to continue partnerships with neighboring institutions in the Park, as was the case with MAC USP, in the 'Zona da Mata' show, and with the Biennial, in the exhibition 'Moquém_Surarî: contemporary indigenous art'," comments MAM' s president, Elizabeth Machado.

The educational program, which includes activations at the works, conversations with artists, mediated tours, and workshops, during these six months of Panorama, is the responsibility of MAM Educativo, which invites the public to participate in discussions about heritage, history, and territory in the work of Giselle Beiguelman, film screenings curated by the artist duo RODRIGUEZREMOR, and a workshop to build a ceramic Japamala, among other activities. Some initiatives are already available for consultation on the museum 's website, at mam.org.br/agenda.

In "Under the ashes, ember", several artists discuss national symbols, territory, cartography, and make reference to the centennial of independence, the Week of 22, and national identity. Gustavo Torrezan reflects on the power structures that historically configure collective organizations, as well as their cultural and identity constitutions. For the Panorama, the artist brings works that address the idea of the national flag and the relationship with coal, the result of the end of the ember. Jaime Lauriano invites us to examine the power structures contained in the production of history, showing the violent relationships maintained between institutions of power and state control . In the Panorama, the artist presents paintings and an installation with brazilwood seedlings distributed in the Sculpture Garden. Ana Mazzei is also part of a research on historical moments and their representations in the history of art, building structures that, based on the interaction of the public, reposition these symbols of power. Marina Camargo exhibits a map of Latin America made of rubber, exploring the notion of a malleable country, frayed, flexed to various sides.

The relationship with the earth and the soil is a theme addressed by several artists in the exhibition, as is the case of Celeida TostesCeleida Tostes, deceased artist who worked the use of clay the use of clay to explore archetypal symbols related to the feminine and to fertility. Bel Falleiros starts from the symbology of nature explored to understand how contemporary constructed landscapes (barely) represent the various layers of presence that constitute a place. Lídia Lisboa works with sculpture - especially in clay - engraving, painting, sewing and crochet. For the Panorama she brings her termite mounds in the MAM 's Glass Room and also in the hall of the Afro Brasil Museumevoking the ambiguous symbolism of the termite, which is the first first life to sprout in a devastated earth, but that at the same time also destroys it. The duo RODRIGUEZREMOR questions imposed visible and invisible boundaries, such as the separation of nature and culture, of contemporary art and popular art, of architecture and technology. In the show, they focus on the making of clay and present the process of Dona Dagmar DonaDagmar, a ceramist from the backlands of Bahia, as well as inviting the public to participate in the construction of another work in ceramics, through the MAM Education program.

Laryssa Machada constructs images as evocations of decolonization and new narratives of present/future with Afro-futuristic futuristic aesthetics and ritualistic dimension. Xadalu, artist who is also a member of the current edition of MAM' s Collectors' Club brings four new paintings that tell narratives of cosmologies of Guarani history.

Camila Sposati presents an installation that evokes the sound dimension by displaying instruments made of clay. Davi de Jesus do Nascimento starts from his research about riverine ancestrality to present a set of new works, with drawings at the MAM and an installation at the Afro Brasil Museum.

Tadáskía proposes abstract drawings, both large scale and smaller, that evoke a playfulness typical of Tropicalist sensibility, where the symbolism of fire and of entities of African origin has a space especially emphasized by the artist.

Maria Laet produces works with earth and clay. For the Panorama, she presents records of an action linked to the soil and also unpublished sculptures.

Heritage, monument, and architecture are also themes explored by the productions of theartists of "Under the ashes, ember". Érica Ferrari produces installations based on research into the relations between architecture, space, and the history of Ibirapuera Park itself, investigating thememory of gestures engraved in history. Giselle Beiguelman pis researching the aesthetics of memory today, with emphasis on the politics of forgetfulness , and the processes of updating colonialism through digital technologies. Her work in Panorama acts as an arena that will host meetings for discussions about the construction of memory and heritage of colonialist monuments . Lais Myrrha produces works with fragments and architectural structures. For the Panorama, the artist brings works that investigate the very architecture of the Marquise do Parque Ibirapuera, designed by Oscar Niemeyer and housing the MAM.

Eneida and Tracy Collins (LAZYGOATWORKS) research African and Afro-Brazilian history and aesthetics and present the video installation "I'm not from here" where they question colonialism and its pseudo-scientific practices.

Some artists are still investigating what the curators call caboclo vocabularies, such as André Ricardo and Sérgio Lucenawho present abstract paintings with elements that refer to the Afro-Brazilian matrix. Luiz 83 brings elements of street art culture, reworking in the manner of this sensibility a certain idea of constructivism sedimented by the canon, by exhibiting sculptures that three-dimensionalize the "tag", an urban graphic signature.

Éder Oliveira develops his artistic investigation on the relationship between the themes of portrait and identity, with a focus on the Amazonian individual. He brings to the Panorama paintings that affirm the cabocla identity and the black body.

Marcelo D'Salete revitalizes drawing and rescues thepast history of Afro-Brazilians through thecomics that he elevates by incorporating the universe of street art, pixação, and pop culture.

Nô Martins articulates the languages of painting, installation and performance, through daily interpersonal relationships, especially the coexistence of the black population in everyday urban life. She brings the installation "Danger", which raises a discussion about the violence of the State through its police forces, besides paintings commissioned especially for the Projeto Parede.

Sidney Amaral addresses ethno-racial themes, including the condition of the black population and, in particular, the black man in Brazil. Deceased prematurely (2014), the artist reflects in his works the Brazilian structural racism and its consequences in history.

Glauco RodriguesGlauco Rodrigues, artist who died in 2004 and worked with "critical tropicalism", will be represented in the Panorama with painting that investigates national identity through the appropriation of national symbols.

About Cauê Alves

Cauê Alves (São Paulo, SP, 1977) holds a bachelor's, a master's and a doctoratein Philosophy from the FFLCH-University of São Paulo. Since 2020 he has been chief curator of the Museum of Modern Art of São Paulo. Since 2010 he has been a professor in the Department of Arts at the School of Philosophy, Communication, Literature and Arts at PUC-SP. Between 2016 and 2020 he was chief curator of MuBE, where he held alongside other professionals the exhibitions Ambiental: art and movements (2019), Burle Marx: art, landscape and botany (2018-2019), awarded by ABCA, Amazônia: the new travelers (2018) and Pedra no Céu: Art and the Architecture of Paulo Mendes da Rocha (2017). He was co-curator, with Vanessa K. Davidson, of Past/ Future/ Present: Contemporary Brazilian Art, at the Phoenix Art Museum, Arizona, USA and MAM-SP (2017-2019). He was assistant curator of the Brazilian Pavilion at the 56th Venice Biennale (2015). He published text in the catalog of the exhibition Mira Schendel, at Serralves Museum of Contemporary Art (Porto, Portugal) and Pinacoteca do Estado de São Paulo (2014), and Tate Modern (London, 2013). He was co-curator of Más Allá de la Xilografía, at the Museo de la Solidaridad Salvador Allende, in Santiago, Chile (2012). He was adjunct curator of the 8th Bienal do Mercosul (2011) and co-curator, with Cristiana Tejo, of the 32nd Panorama of Brazilian Art at the Museu de Arte Moderna de São Paulo (2011).

About Claudinei Roberto da Silva

Claudinei Roberto da Silva (professor, curator, visual artist) was born in 1963 in São Paulo where he lives and works. He graduated from the Art Department of the University of São Paulo. As curator he held among others, the Sidney Amaral exhibition "O Banzo, o amor e a Cozinha" 1st Funart award for black artists and curators - Museu Afro Brasil, the "13th Naïfs of Brazil Biennial" at Sesc Piracicaba and the series "Pretatitude. Insurgences, emergences and affirmations. Contemporary Afro-Brazilian Art" for several units of Sesc São Paulo and invited curator for the research project "MAC USP Curatorial Processes - Critical Curatorship and Decolonial Studies in Visual Arts: African Diasporas in the Americas". Coordinated, among others, the Educational Center of the Afro-Brazil Museum. Artistic and Pedagogical Coordinator of the multinational project "A Journey through African Diaspora" of the American Alliance of Museums in partnership with the Afro Brasil Museum and Prince George African American Museum. He was a Fellow in the "International Visitor Leadership Program" of the U.S. Department of State .He is part of the curatorial board of the Museum of Modern Art of São Paulo. He has works in the collection of the National Museum of Afro-Brazilian Culture MUNCAB in Salvador, Bahia.

About Cristiana Tejo

Cristiana Tejo (Recife, PE, 1976) is an independent curator and PhDin Sociology (UFPE). She is co-founder of Espaço NowHere (Lisbon) and researcher at the Art History Institute of Universidade Nova de Lisboa, where she was a researcher of the project Artists and Radical Education in Latin America: 1960s/1970s. She is co-curator of the Belojardim Residency, in the Agreste of Pernambuco. She was Coordinator of Public Programs at Fundação Joaquim Nabuco (2009 - 2011), Director of the Museum of Modern Art Aloísio Magalhães (2007-2009) and curator of Fine Arts at Fundação Joaquim Nabuco (2002-2006). Co-curated the 32nd Panorama of Brazilian Art at MAM - SP and the Project Rumos Artes Visuais at Itaú Cultural (2005-2006). Curated the Paulo Bruscky Special Room at the X Havana Biennial (2009). Lives and works in Lisbon.  

About Vanessa Davidson

Dr. Vanessa K. Davidson received her B.A. in Hispanic American Literature from Harvard University, and studied Latin American art and Argentine poetry at the Universidad de Buenos Aires, Argentina, and Portuguese at the University of São Paulo. She received a Fulbright-Hays scholarship to conduct doctoraldissertation research in Argentina and Brazil, and received her Ph.D. in the History of 20th and 21st Century Latin American Art from the Institute of Fine Arts, New York University. She has worked at the Museum of Fine Arts in Boston as well as the Metropolitan Museum of Art. She served as the Shawn and Joe Lampe Curator of Latin American Art at the Phoenix Art Museum for eight years, during which time she organized twelvelarge-scale exhibitions, two of which traveled internationally. Davidson was co-curator with Dr. Sergio Bessa of Paulo Bruscky: Art Is Our Last Hope (2014). She curated the largest international exhibition of contemporary postal art in the US since the 1970s at Focus Latin America: Art Is Our Last Hope (2014-15). She was curator of Horacio Zabala: Mapping the Monochrome (Phoenix and Buenos Aires, 2016-17) and co-curator with Cauê Alves of Past/Future/Present: Brazilian Contemporary Art from the Collection of the Museum of Modern Art, São Paulo (Phoenix and São Paulo, 2017-2019). She is also the curator of Oscar Muñoz: Invisibilia (2021-22), the first North American retrospective of this Colombian artist. She assumed the position of Curator of Latin American Art at the Blanton Museum of Art in the city of Austin, Texas, in 2019.

About MAM São Paulo

Founded in 1948, the Museu de Arte Moderna de São Paulo is a non-profit civil society of public interest. Its collection includes over 5 thousand works produced by the most representative names in modern and contemporary art, mainly Brazilian. Both the collection and the exhibitions privilege experimentalism, opening up to the plurality of world artistic production and the diversity of interests of contemporary societies.

The Museum maintains a wide range of activities that includes courses, seminars, lectures, performances, musical shows, video sessions, and artistic practices. Thecontent of the exhibitions and activities is accessible to all audiences by means of guided tours in libras, audio description of the works, and video guides in Libras. The collection of books, periodicals, documents, and audiovisual material is made up of 65 thousand titles. The exchange with museum libraries from several countries keeps the collection alive.

Located in Ibirapuera Park, the most important green area in São Paulo, the MAM building was adapted by Lina Bo Bardi and has, in addition to the exhibition rooms, a studio, library, auditorium, restaurant, and a store where visitors can find design products, art books, and a line of objects with the MAM brand. The Museum 's spaces are visually integrated with the Sculpture Garden, designed by Roberto Burle Marx to house works from the collection. All facilities are accessible to visitors with special needs.

Service
37th Panorama of Brazilian Art - under the ashes, ember
Curated by: Cauê Alves, Claudinei Roberto da Silva, Cristiana Tejo and Vanessa Davidson.

Exhibition Period: July 23, 2022 to January 15, 2023
Venue: Museum of Modern Art of São Paulo

Address: Ibirapuera Park (Av. Pedro Álvares Cabral, s/nº - Gates 1 and 3)

Hours: Tuesday to Sunday, from 10am to 6pm (last entry at 5:30pm) 

Phone: (11) 5085-1300

Admission: R$25,00. Free on Sundays. Advance booking required.
Tickets will be available online at www.mam.org.br/ingresso
Half-entry for students, with ID; low-income youth and seniors (+60). Free of charge for children under 10; people with disabilities and accompanying person; teachers and directors of the public network of SP, with ID; associates and students of MAM; employees of partner companies and museums; members of ICOM, AICA and ABCA, with ID; employees of SPTuris and employees of the Municipal Secretariat of Culture.

Venue: Afro Brazil Museum
Exhibition period: From July 23 to October 23, 2022
Address: Ibirapuera Park (Av. Pedro Álvares Cabral, s/nº - Gate 10 / Parking through Gate 3)
Hours: Tuesdays to Sundays, from 10am to 5pm (stay until 6pm)
Telephone: (11) 3320 8900
Admission:R$15,00 (half-entry R$7,50) Free of charge on Wednesdays.
Tickets will be available online at https://museuafrobrasil.byinti.com/#/ticket/

About the Afro-Brazil Museum

 The Afro Brazil Museum is a public institution managed by the Afro Brazil Museum Association - Social Organization of Culture. Inaugurated in 2004, from the private collection of its curator director, Emanoel Araujo, the Afro Brazil Museum is a space of history, memory and art.

Located in the Padre Manoel da Nóbrega Pavilion, inside the most famous park in São Paulo, the Ibirapuera Park, the museum keeps, in an area of about 12 thousand square meters, a museum collection with more than 8 thousand works, presenting several aspects of theAfrican and Afro-Brazilian cultural universes and approaching themes such as religiosity, art, and history, from the contributions of the black population to the construction of the Brazilian society and national culture. The museum displays part of this collection in the long term exhibition and holds temporary exhibitions, educational activities, and a wide-ranging cultural program.